View full screen - View 1 of Lot 3605. A BLUE AND WHITE VASE, MEIPING SEAL MARK AND PERIOD OF QIANLONG | 清乾隆 青花折技花果紋梅瓶 《大清乾隆年製》款.
3605

A BLUE AND WHITE VASE, MEIPING SEAL MARK AND PERIOD OF QIANLONG | 清乾隆 青花折技花果紋梅瓶 《大清乾隆年製》款

Estimate:

6,000,000

to
- 8,000,000 HKD

PROPERTY OF A GENTLEMAN 士紳珍藏

A BLUE AND WHITE VASE, MEIPING SEAL MARK AND PERIOD OF QIANLONG | 清乾隆 青花折技花果紋梅瓶 《大清乾隆年製》款

A BLUE AND WHITE VASE, MEIPING SEAL MARK AND PERIOD OF QIANLONG | 清乾隆 青花折技花果紋梅瓶 《大清乾隆年製》款

Estimate:

6,000,000

to
- 8,000,000 HKD

Property of a Gentleman

"A BLUE AND WHITE VASE, MEIPING SEAL MARK AND PERIOD OF QIANLONG"

清乾隆 青花折技花果紋梅瓶

《大清乾隆年製》款


the shouldered body decorated in rich cobalt tones with three flowering branches above boughs of peach, pomegranate and lychee, each rising from a sprig of fungus, evenly spaced above a double line and a band of overlapping upright leaves encircling the base, the shoulders with a collar of radiating lotus petal panels and the short narrow waisted neck with florettes and leaves below the lipped rim, the base inscribed with a six-character seal mark

32 cm, 12 ½ in.

The vase is in good condition.


品相良好。


"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.

NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."


我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員,在此敦促您向其他專業修復人員索取諮詢,以獲得更詳盡、專業之報告。


準買家應該檢查每款拍品以確認其狀況,蘇富比所作的任何陳述均為專業主觀看法而非事實陳述。準買家應參考有關該拍賣的重要通知(見圖錄)。


雖然本狀況報告或有針對某拍品之討論,但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。

Si De Tang collection.

Christie's Hong Kong, 27th November 2013, lot 3421.


駟德堂收藏

香港佳士得2013年11月27日,編號3421

Vases of this type represent the technical advances made in porcelain production which provided a canvas on which to recreate celebrated Ming ceramic designs suitable to contemporary taste. The fine porcelain body and the craftsman’s ability to manipulate the pigment are particularly notable in the present vase, as seen in the lucidly painted design which has been rendered in a range of vivid cobalt tones. A closely related example in the Nanjing Museum, Nanjing, is illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 215; and one, from the Edward T. Chow collection, sold in these rooms, 19th May 1981, lot 546, is illustrated in Michel Beurdeley and Guy Raindre, Qing Porcelain, London, 1987, pl. 153. See a third vase published in Chinese Porcelain. The S.C. Ko Tianminlou Collection, Hong Kong, 1987, cat. no. 63, where Julian Thompson discusses this group of Qing blue and white wares as painted with re-designed Yongle motifs and patterns, particularly in the borders and the simulated ‘heaping and piling’ of cobalt blue which further serves to heighten the three-dimensional quality of the design (p. 30). 


Further vases of this type include one from the T.Y. Chao collection, included in the exhibition, Ming and Ch’ing Porcelain of the T.Y. Chao Family Foundation, Hong Kong, Museum of Art, Hong Kong, 1978, cat. no. 79, sold as one of a pair in our New York rooms, 24th May 1974, lot 420, and again in these rooms, 19th May 1989, lot 270; another sold twice in these rooms, 20th May 1986, lot 41, and again, 8th October 2010, lot 2635; a third example from the Shorenstein collection, sold twice at Christie’s Hong Kong, 18th March 1991, lot 567, and again, 1st December 2010, lot 2970; and a fourth one, from the collections of Robert Chang and Dr Alice Cheng, sold in these rooms, 9th October 2012, lot 123.


By the Qianlong period, the nonchalant charm of the Ming original had evolved into a crisply organised motif: the form of the meiping, its dramatic silhouette characterised by broad shoulders tapering to a narrow foot, required a reinvention of the early design. Leafy flowering branches extend out around the shoulder, neatly converging at a point in the form of an inverted triangle to complement the swell of the shoulders, while the fruiting branches composed in a diamond form highlight the narrow lower section of the vase.


For the 15th century prototype of this design see a meiping in the National Palace Museum, Taipei, illustrated in Minji meihin zuroku [Illustrated catalogue of important Ming porcelains], vol. 1, Tokyo, 1977, pl. 12; and a larger meiping illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 4, no. 1641, most recently sold in these rooms, 5th October 2011, lot 11.


此類梅瓶器型線條豐腴,與其青花紋飾構圖配置,盡顯協調和美為一特色。以折枝花葉紋蔓生至一底點,作倒三角形構圖修飾瓶肩豐碩線條,瓶腹作菱形構圖折枝花果紋強調斂腰曲線。此瓶尤以清麗畫工,濃艷發色為難得,展現瓷匠之高藝及駕馭藍料之能。 南京博物院藏有一近似作例,錄於《中國清代官窰瓷器》,上海,2003年,頁215。仇焱之舊藏有一瓶,售於香港蘇富比1981年5月19日,編號546,錄於 Michel Beurdeley 和 Guy Raindre,《Qing Porcelain》,倫敦,1987年,圖版153。另一瓶著錄於《天民樓藏瓷》,香港,1987年,編號63,以此作例,朱湯生撰文探討清瓷傚仿永樂青花圖紋,及積釉黑斑特色之作法。


類同瓷瓶可參見趙從衍收藏內一對作例,曾展於《趙從衍家族基金會明清瓷器收藏展》,香港藝術館,香港,1978年,編號79,原售於紐約蘇富比1974年5月24日,編號420,後於1987年5月19日香港蘇富比分售,編號270及271。另一瓶二度售於香港蘇富比,1986年5月20日,編號41,及2010年10月8日,編號2635。Shorenstein 收藏亦有一瓶,二度售於香港佳士得,分別為1991年3月18日,編號567,及2010年12月1日,編號2970。還可參考張宗憲與張永珍博士遞藏之器,售於香港蘇富比2012年10月9日,編號123。


明代雛本,悅目可愛,然清初仿作之品,至乾隆一朝,已演化成型,發展出井然有序之樣式。明代梅瓶,外形線條誇張,肩寬圓,足細小,至清之時,形制略改。上層花紋,枝葉橫伸,作倒置三角形之貌,下層果紋則作菱形狀,以樣飾佈局呼應梅瓶上豐下歛之形。


相類十五世紀青花梅瓶範例,可見台北國立故宮博物院藏品,圖刊於《明瓷名品圖錄》,卷1,東京,1977年,圖版12。玫茵堂舊藏梅瓶,尺寸較大,也可資參考,見康蕊君,《玫茵堂中國陶瓷》,倫敦,1994-2010年,卷4,編號1641,最後一次售於香港蘇富比2011年10月5日,編號11。另可比較一器,二度售於香港蘇富比,分別為1983年11月14日,編號98,及2005年5月2日,編號504。